The Immaculate Conception.

                                                        "The Immaculate Conception."

Sculptor:- unknown.

Material:- Quartz crystal.

Size:- 58Cm high x 31cm wide x 20 cm deep.

Wooden Base:- Bottom, 34cm x 20.5cm.

                Top:- 29.5cm x 19cm x 8cm deep.

Circa:- 1900 to 1910.

 This “Immaculate Conception” sculpture is unique in that it is made from beautiful white Quartz Crystal from the Benguet area. It was obtained by a collector in the late 1960's and has been in that collection until now.

The sculpture was purchased directly from the folk sculptors family members, unfortunately all records of who the sculptor was have vanished with time.

This sculpture was purchased with the head broken and reattached to the sculpture, it is not known but suspected that the damage occurred during the sculptural process as Quartz Crystal, it is a very hard and brittle crystal and difficult medium to work in.

This very beautiful and unique work is carved out of one piece of Quartz Crystal.  

Pure quartz, traditionally called rock crystal or clear quartz, is colorless and transparent or translucent, and has often been used for hard stone carving.

This is a masterly sculpted work, the detail of the face, hands and clothing are very well carved. There is a soft resonance within this work.

I do find this piece quite alluring and there is an inner quality, a quiet serene presence about this sculpture that is difficult to explain and yet you can sense it when you come into its presence. One viewer wanted to touch the sculpture as she felt a desire within herself to rub her hands on the base as she felt she was being drawn into its healing presence.

This “ Immaculate Conception” Sculpture is an experience to behold, this is no ordinary sculpture.

This exceptional piece is very unique and in all our research we have not at this point in time found another Immaculate Conception carved in such a large Quartz crystal.

Historical text speaks about the nature of light and Quartz crystal, “Light (the Son) striking the crystal (Mary) has long been the symbol of the Immaculate Conception.” 

The Immaculate Conception, according to the teaching of the Catholic Church was the conception of the Blessed Virgin Mary in the womb of her mother, Saint Anne free from original sin by virtue of the foreseen merits of her son Jesus Christ. The Catholic Church teaches that Mary was conceived by normal biological means, but God acted upon her soul (keeping her "immaculate") at the time of her conception.
The Immaculate Conception is commonly and mistakenly taken to mean the conception of Mary's son Jesus Christ in her own womb, and the virgin birth of Jesus. These are covered by the doctrine of the Incarnation, while the Immaculate Conception deals with the conception of Mary herself, not that of her son.

 Power and Healing qualities of Natural Quartz Crystal
The clear quartz crystal is one of the most sacred stones of ancient cultures. Its clarity and transparency give it a mirror quality through which things can be seen clearly. The natural quartz crystal symbolizes white light energy.
The power of the crystal can be found in its structure - growing and reaching up toward light from the deepest parts of earth. It is a conductor of energy - both as a receiver and a transmitter. It is important to keep your crystal clean in order to protect it from outside negative vibrations. Your personal crystals will attune themselves to your vibrations, as you will attune to the natural vibrations of the crystal. Choose crystals that seem to speak to you or that you feel attracted to for best results.

Clear quartz crystals have been used for centuries in healing. 

Crystals have been used for healing the body, transforming the spirit, inspiring intuitive insight, guarding against negative vibrations, and smoothing the energy flows of spirit and body. 

This beautiful Quartz crystal sculpture of “The Immaculate Conception,”

Written by,

Mark Shellshear.

Art Consultant

NENA SAGUIL, “ La Crepusle de Dieux” [ Twilight of the Gods]

NENA SAGUIL, “ La Crepusle de Dieux” [ Twilight of the Gods]

Oil on canvas, 57ins x 37ins.

[The photograph of the painting has been cropped as the principles did not want it displayed in its entirety, it is available for viewing at Galeria de las Islas.]

 This wonderful painting by Nena Saguil is clearly one of her signature paintings and has never been on exhibition before in the Philippines..

The simplicity of this magnificent painting is its strongest asset. The cluster of Islands on the ocean, with the setting sun behind them and the risen moon in the foreground, so set the tenor of the painting.

Nena had built her artistic career as an ex-pat Filipina artist in Paris and I feel that this painting is so symbolic of that life she lived there, even the title, “ The Twilight of the Gods” sends out a certain but subdued message.

The expatiate artist will always be in the French society but separate from, always the ex-pat is pulled in two directions and as with all loves, time apart does build a romantic view of the past, coloring it brightly as imagined memories take over from real memories.

Within this painting we get to find a moment, caught in time like an old fashioned snap shot photograph of her Parisian life verses her Philippines homeland.

This piece was painted in Paris, and within this painting I see the longing of the Filipino heart for certainty, direction and acceptance.

My vision of this painting sees these islands representing her homeland, far away, still a magical place set in a golden sea and the tropical Sun setting slowly behind the islands, as if setting on her ever returning home to her beloved Philippines.

I see the moon so large and majestic rising out of the golden ocean, so symbolic of her new life in Europe and her increasing fame as her art career now dominates her world. The blue of the moon ever increasing in size as her artistic career grows and grows, the pink sky slowly pushing away the tropical colors of the Philippines. 

Her career had her on a different journey now where the colors of the tropics had changed into the subtle cooler colors of her Parisian lifestyle. 

To me this is a very happy and serene painting, even though the title would suggest a closing of times, being twilight.

The Gods are her two loves, the Philippines, the Islands and the Sun and Paris the Moon and her art career and yet it is a twilight time. The painting speaks of a happy remembered past, an artistic career chosen in a foreign land and yet something is lost?

Nena's success was in Paris, she had a loyal following of collectors there and fans that stretched all the way back to the Philippines.

This painting “La Crepusle De Dieux” is such a confident work by mature artist at the height of her genius, it is a signature piece.

As I said earlier the simplicity of this painting shows the great strength of a confident painter but the story it tells is of a complicated life caught between the life of Paris and the ever present call of the Philippines.

I find it one of those paintings that the more you study it, the more it gives back to you.

Nena Saguil was a Filipina painter, she was a beautiful, intelligent, courageous woman painter who bravely paved a path for all Filipino ex-pat artists to follow.

I commend this truly wonderful painting to you, full of life and vitality, yet within its joyfulness is the subtle feeling of a longing for home, as only an ex-pat would understand.

Nena was very much part of the Parisian culture that she had embraced, but a tiny piece of her heart still longed for her beloved homeland.

Nena Saguil, 1924 – 1994.

Written by, 

Mark E Shellshear.

Art consultant.

The Collectors Collection.. Building depth around and Artist.

                  The opening of "PUK U ART" at Galeria de las Islas, 3rd of October, 2015.

I recently came across a statement made by by a collector that made me think about strengthening the building your Art Collection. He said how he was part of a small auction on household pieces of an estate and he deliberately went there to buy an art work by an Artist that he collected. The piece was an undistinguished small painting by the artist on paper but it was very different from his normal work. The Artist was a contemporary painter who concentrated on large powerful works, this painting in the auction was a scene of a woman sitting at a kitchen table preparing a meal. As I said a very undistinguished painting and he paid very little for it.

Why did the collector want it?

Because he wanted some obscure paintings by the artist that would build more of the character of the artists life and his paintings into his collection.

Collector Chandler Coventry said,” Try and amass as many diverse pieces by an Artist as possible and these include incongruous works, so by the time your collection is mature, you have depth and breadth.”

Of course it is very important to get the best paintings from your favoured Artist as is possible and this requires research and know when to buy and how much to pay. It does not help your collection to pay far more for your favoured Artist in an Auction just because someone wants to bid up the price, set your price limits and do not move from them, if you do not get that painting today, you never know when it could come back on the market again.

As well as buying these important pieces, seek out the obscure works by your favored Artist. See if you can find very early pieces, pieces on paper and even doodles and scribbles by the artist, these all add to the depth of your collection and especially if the Artist is living and will acknowledge these obscure pieces and sign them.

No piece by your favored Artist is not worth having especially if it is authenticated by the Artist or if the Artist is not alive by the Gallery that represented him.

I know a collector who when he goes to his favored Artist to buy a painting always looks around the studio for paper and small canvas cut off and brush wiping on cloth that the Artist would dispose of anyway and ask for them and get the Artist to sign them, he sees them as an important part of his collection, they gave history to the best works and gives a little incite into the Artist.

As you pursue your passion for collecting, do not forget the little things that others would not be interested in. The best thing about a lot of Collectors is that they do not think obscure and undistinguished pieces of an Artist are worth having, they see no value in these things of little value but added to your collection they bring value to you because they build the back story of the Artist.

They are so never over look these little gems they will enhance your collection and make the great paintings shine even brighter.

I do hope this has been a help for you and if you need any help or advice with you collection or collecting needs, please contact our Gallery Team at Galeria de las Islas and they will do all they can to help and assist you.

Enjoy your passion.

galeriadelasislas@gmail.com

Written for Galeria de las Islas by,

Mark Shellshear.

Art consultant.

mark@shellshearmedia.com

                   Inside Galeria de las Islas, showcasing " PUK U ART" all of October,2015.

Anastacio Caedo.. “ Jose Rizal”

Anastacio Caedo.. “ Jose Rizal”

 Sculpture by Anastacio Cadeo [1907 – 1990]

Marble cast.

Sculpture:- 55 cm high x 23 cm deep x 40 cm wide.

Base:- 20.5 cm x 22cm.

Dated 1966.

This sculpture of Jose Rizal by Anastacio Caedo captures a very serene look on a young Rizal.

The delicate sculptural work of the eye brows and mustache are outstanding, the eyes are looking forward as if he is looking past his present time and into the future. He is self assured, yet thoughtful, calm and confident.

Hi hair, face and ears are all masterly executed. 

His cloths are of his time, well sculptured but not intruding or taking away from the portrait.

His coat is open showing a collared waist coat with three buttons, a straight collared shirt with a cravat.

 The sculpture is signed on the left side of the base:-

                                                                                     A T CAEDO 1966

It is also inscribed on the front of the base:-

                                                                                         Jose Rizal.

This is in script as his signature would be. 

The sculpture bust is a v shape at the front and the back is cut straight across the back.

The base comes from under the sculpture as a curved column and moulds into a nearly square base that is 5cm high.

 Comment.

“ Though the bust entry in the Jose Rizal National Centennial Commission only won third prize.

It was this Rizal bust that was chosen by the Commission as the official token given to foreign diplomats and not the winning entry by Tolentino.” Philippine Star November 2008.

This is an exceptional Rizal bust, handsome and stately.

Written by,

Mark E Shellshear.

Art consultant.

Isabelo L Tampinco. “ Girl with four braids.”

Isabelo L Tampinco. “ Girl with four braids.”….[ Original title unknown.]

Sculpture by Isabelo L Tampinco. [ 1850 – 1933.]

cast marble.

Sculpture. 42cm high x 19cm wide x 14cm deep.

Base. 15cm square x 6cm high.

Signed on the back “ I.L.T. - 1885 Manila.

Description

Isabelo Tampincos handling of this delicate sculpture is masterful.

This beautiful little girl sits with her head bowed forward. She has a very serene look of one who has been sitting patiently as her mother has plated her hair.

She is still young with a round baby face.

Tampinco has beautifully sculptured the lips, nose, eyes and eye brows, her eyes have the look of tranquility in them.

 Both ears are seen and delicately carved.

The hair is the most ornate part of the sculpture, there are four braids. The hair is brushed to the front and to the back and to the front on both sides, then tied off with a band and then braided and pulled to the center top of her head, where they are formed into a bun and tied off with another band.

The front braid and the two side braids are very clearly plated and beautifully carved.

The back braid, is not as ornately carved and it seems that the same care of plating the hair was not taken here as with the other three braids. This can be seen clearly as there is no tie band at the back like the other three braids, which is very interesting.

 Two parts in the hair can be seen clearly on both sides of the head, but there is no part at the back.

 The top of the chest of the girl is beautifully formed and the sculpture ends on the shoulders, centre chest and top of the back.

The bust sits on its own base, which adds to the drama of the piece.

The sculpture is in very good condition, no cracks or chips can be seen. Under the bust is also smooth with no blemishes.

The signature is clearly seen on the back of the sculpture, signed:- I L T      [initials].

                                                                                                    1885 Manila

 The sculpture at the time of writing is 130 years old.

There are no distinguishing marks.

Comment.

This is a very early Tampinco sculpture executed with a sensitivity for beautiful young girl.

Maybe he watched a child getting her hair braided by her mother and saw the tender love of the mother and the patience of the child.

The look on the face of the child is that contentment.

This is a beautiful, charming sculpture by Tampinco.

Written by,

Mark E Shellshear.

Art consultant

Austin Niko Suarez, “ Grunge Street Art by the New Contender."

“ Grunge Street Art by the New Contender.

 " Bad Apple"

22ins x 14 ins

Austin Niko Suarez, Newest paintings.

Continuing to build his reputation for the right to have a shot at the throne the New Contender Austin Niko Suarez sends off another flurry of punches as he launches his new “street grunge” paintings.

These painting are straight off the streets of Metro Manila, raw and honest. 

They are painted in acrylic paint and mixed media, painted on found wood discarded from a city construction site.

Not to waste anything these discarded pieces of ply wood have been taken and given a new life as wonderful expressive eccentric paintings, straight from the street to challenge the norm and scream out,

“ New Art, LOOK at ME!”

" Sleep walker and Royal jelly"

24ins x 16ins

Austin's sense of the whimsical and surreal, that strikes straight at the heart is once again displayed here these four paintings, raw Austin proclaiming his right to contend for the throne.

" Purple Haze"
21.5ins x 12ins.

" Harm and Throne"
14ins x 24ins

Austin's paintings tell of the hard streets of Manila, grunge paintings and like all New Contenders he is pushing hard for a title fight.

Austin is the New Contender.

written by,
Mark E Shellshear
Art consultant.

Anastacio T. Caedo.... “ THE RISEN CHRIST ”

Anastacio T. Caedo.... “ THE RISEN CHRIST ”

also known as “ The Triune Christ:- The Risen Christ, The Sacred Heart and Macho Christo”

By Anastacio T Caedo [1907 – 1990]

marble cast.

75.5 cm high x 28 cm wide

Signed on the back, A T Caedo.

Significant note:- In 1966, this sculpture “THE RISEN CHRIST” won the Gold Medal at the Philippine Art Exposition.

Description.

The Sculptors depiction of the Risen Christ is quite wonderful, he has placed the Risen Christ on top of a cloud as it moves through the air and the Resurrected Christ is glowing with health and strength, radiant in His triumph over death.

 The Risen Christ is still wrapped in His prayer shawl but it is loose and he is free of its binding constrictions. The shawl no longer binds Him in death and now it is under his right foot, death is defeated and the shawl flows up the back of his left leg, wraps around his waist and continues up his back and flows out from His left shoulder up into the air waving in the breeze as the Risen Christ flies through the air.

 On the top and bottom edges of the shawl lines can clearly be seen across the folds. This would indicate that it is a prayer shawl, the folds on the bottom are quite exaggerated and the lines are clearly seen etched into the marble.

He is a smiling Christ looking down and forward.

 The face of the Christ is beautifully carved, the features are precise and distinct, his eyes are smiling and the very skilful technique of placing a dot of marble on the eye ball gives the eyes that wonderful life like quality.

The beard, eye brows and hair are carefully carved to show precise detail and the hair falls onto his shoulders and around the back of His neck.

As the Risen Christ smiles His teeth are revealed, His lips are full and His nose is strong and straight.

His ear lobes can be seen protruding from under his hair line.

His sacred heart can be seen on the outside of His chest.

 His torso is that of a strong well built man, full of health and vitality as we would imagine the Risen Christ to be after conquering death and sin, quite a magnificent looking man.

His legs and feet are bare and each foot has the nail holes in it , the evidence of His crucifixion.

Both hands are reaching forward as if to gather in humanity and on both wrists are the nail holes from His crucifixion.

The sculpture is signed on the back of the sculpture below His left foot. It is signed A.T. Caedo, it is not printed but signed as he would his signature.

Distinguishing marks,

On the left foot, the first and second toe are cut deeper at the toe nail than on the other toes.

The second finger on the left hand has a cut line across top of the finger at the first knuckle, not seen on the other fingers.

Interesting note, the nail holes on this Caedo sculpture are seen on the feet and on the wrists, but on his sculpture “ Pietra ” the nail holes are seen on the feet and the hands. It would be interesting to know why he used different two versions of the stigmata?

Writtern by,

 Mark E Shellshear.

Art Consultant.

markshellahear@gmail.com

Isabelo L. Tampinco...” NINO DURMIENDO”

Isabelo L. Tampinco. [1850 – 1933].

 Title ...” NINO DURMIENDO”

plaster cast.

Sculpture :- 27cm high x 22.5cm wide x 12.5cm deep.

Base :- 4.5cm x 19cm wide x 12.5cm deep.

Signed :- “I L T”

Description.

This sculpture is the original plaster cast, painted with a gold metallic paint.

This is a beautiful sculpture of Nino Durmiendo of a little boy seated on a rock and asleep leaning upon a pillar of stones.

The Nino is wearing a round neck cassock, long sleeved and down to his toes. It has a belt/tie around the waist.

His hair is very curly, but short enough to expose his ear on the left side of his face.

His eyes are closed.

His head is leaning upon his right forearm and his right hand and fingers are resting upon the rock ledge.

His left hand is in his lap and he is holding onto a garland of what looks to be plated or entwined vines.

Half the foot of the left leg can be seen under the folds of the garment and the toes of the right foot can be seen coming out from under the garment but on their side, he is very relaxed.

Tampinco's signature is on the right side, back of the sculpture, above the base line. It is signed with his three initials “I L T”.

There is no date recorded on the sculpture, but it is thought to have been sculpted in the first decade of the 20^th Century or just before the end of the 19^th Century.

 Distinguishing marks.

Chip in the base beneath the left toes of the sculpture.

Considering its age over 100years old it is in remarkably good condition.

There are no other distinguishing marks, other than those of age

The gold paint is worn off the sculpture but it can be clearly seen in the deep recesses of the sculpture. There is remnants of gold paint in the signature.

This is a very beautiful, peaceful sculpture nicely executed, the face of the child is quite beautiful and is true to its name.

niño m ‎(plural niños, feminine niña) boy, child

Durmiendo, Spanish for:- sleep, be in a state of sleep, fall asleep, slumber; enter into or be in a state that resembles sleep.

Isabelo Tampinco is one of the true Filipino masters, his sculptures are exceptional in composition and skill, he was the first of a line of great Philippine Classical Sculptors.

Written by,

Mark E Shellshear.

Art Consultant.

Quote from, www.wikipilipinas.org

Isabelo Tampinco (19 November 1850 – 30 January 1933).

A Chinese mestizo and a direct descendant of Rajah Lakandula, he was born in Binondo, Manila on 19 November 1850. He was the son of Tampinco y delos Reyes and Maria Justa de Lacandola. He apprenticed in the carving shops of Binondo and Santa Cruz districts. At age 15, he enrolled at the Academia de Dibujo y Pintura, Manila’s art academy, and studied sculpture under Agustin Saez and Lorenzo Rocha. He was hailed as one of the most outstanding sculptors of his time and was admired by Jose Rizal, who was his classmate in a modeling class at the Ateneo Municipal de Manila.

He was able to start his career in his 20s. His works dated as early as 1870. When Tampinco began his art, even while he was trained in school with a classical foundation, there was a revival of the gothic style in Europe. These styles became very evident in his design of churches, such as that of the fallen San Ignacio Church.

At age 26, he was chosen as the representative of the Philippines at the 1876 Philadelphia Centennial Exposition in the United States.

Receiving the “diploma de honor” from the Exposicion General de las Islas Filipinas in Madrid, Spain in 1887 was said to be his most important recognition.

When the Spaniards left and the American colonisers came, Tampinco enjoyed the newfound freedom as he was able to complete majority of his nude sculptures. Most of his works were either plaster of Paris or concrete.

Francesco Monti, “ GIRL WITH CORNUCOPIA FILLED WITH GRAPES “.

“ GIRL WITH CORNUCOPIA FILLED WITH GRAPES “.... original title unknown.

 By Francesco Monti. [1888 - 1958]

74 cm h x 29cm.

Signed at the back, top of base, F. R. MONTI.

                                                        1938

                                                     FILIPINAS

sculpture height 66 cm x 29 cm wide.

Base height 8 cm x 23 cm diameter.

Description.

This is beautiful Monti sculpture capturing the classical style for which he was so well known for here in the Philippines and Italy.

This classical maiden is standing with her weight on her right leg, with her left leg bent backwards, holding a cornucopia basket filled with grapes.

She has pleasant soft smile on her face as she looks to the right and down.

A lot of attention to detail has been paid to her hair, it is finely sculpted in a very distinct style. The hair has been rolled at the sides then swept under the scarf which covers the rest of her hair. Her hair can be seen hanging down onto her shoulders from under the scarf from the front view but no hair can be seen from the back view.

Her loose fitting top seems to be bunched up over her right shoulder and then it is caught by a strap above the left breast and then falls down again nearly to her waist on her left side. The strap over the left shoulder has fallen down off the shoulder onto the top of her arm and the strap is in two sections joined together by a button.

She has what seems to be a band around her waist and three layers can be seen. The band around her waist is only visible at the centre front of the garment.

The blouse balloons over the band in numerous folds.

The hem of the blouse is very short in the centre front and then drops down to her hips and hangs low around her body. It is a very full blouse and balloons at the hem which makes me think that it was made from two very fine pieces of fabric and stitched so it would balloon when it is draped. The full ballooned hem can be seen right around the sculpture.

The skirt is very long and full and falls right to the ground and is bunched up beside the right foot.

The skirt is split from the waist above the left thigh and is caught by two buttons below the fall of the blouse over the left hip and thigh.

 The split reveals the left leg which is bent forward as she rests it on some stones or rocks.

Her full weight is on her right leg and the skirt is draped around the right leg.

The left arm is completely uncovered except for the straps off the left shoulder, the left hand is placed on the left hip, all five fingers can be seen and the palm of her hand.

The right arm is also completely exposed and she is holding a cornucopia style of basket, that has ribbons or cord wrapped around the basket as if holding it together.

Her right arm is clutching the basket and her right hand and four fingers can be seen

In the basket is a bountiful harvest of grapes and leaves can be seen in the basket among the grapes from the back. The basket is extremely full and grapes can be seen under the right arm against the basket. The cornucopia basket full of grapes the sign of abundance and nourishment.

 The draping over the back of the left leg is very full and falls back in behind the leg and clings to the right leg.

The back view clearly shows the scarf falling from off her head and down her back to below her waist.

The fullness of the back of the blouse can be seen around the waist and around the hem of the blouse.

The skirt falls straight to the ground at the back.

 The left foot is completely exposed and the right foot can be seen protruding from under the skirt. 

  Interesting features.

- Signed... F.R.Monti

                   1938

               FILIPINAS

Signed on the top of the base at the back, below the hem of her skirt.

- The base has a 3mm pattern carved into it 5mm wide concave band, and bottom of the base is

3 mm wide.

- Under the base is clear of all markings.

- The basket, it is designed after the Cornucopia baskets, [ from the Latin cornu copiai ]

Horn of plenty, it is a symbol of abundance and nourishment.

Usually a woven wicker basket.

Written by,

Mark E Shellshear.

Art consultant.

markshellshear@gmail.com

FRANCISCO R. MONTI....... “ Girls with flowers “ ….. original title unknown.

FRANCISCO R. MONTI....... “ Girls with flowers “ ….. original title unknown.

FRANCISCO R. MONTI

Title ;- “ Girls with flowers “ ….. original title unknown.

64cm high x 25cm wide x 20cm deep

Sculpture:- 57.5cm high x 26cm wide x 23cm deep.

Base :- 23.5cm x 24.5cm x 6cm

Signed... F.R. MONTI

A young girl standing with a slightly bowed head and her eyes are closed.

Her hair is parted in the middle and is long and falling down over her shoulders and down her back, curls can be seen on her right shoulder and beneath her left ear.

Her dress falls from her left shoulder to her right waist line, there is no cover over her right shoulder, her arm or her right side chest.

There is a short sleeve on the left arm.

The dress is about knee length but the hem of the left side is raised to hold the flowers she has gathered into the dress. Her left hand is holding the hem of the dress and the dress seems to be bunched up in her hand as the fold of the material can be clearly seen between her thumb and first finger.

Her right hand is holding a flower, the petals and the leaves can be clearly seen.

There are a number of flowers held in the hem of her dress, three flower heads can be easily distinguished and many leaves can be seen.

Her legs are bare and she is wearing no shoes.

The base seems to represent a path or a rocky walk way as distinct lines can be seen cut into the base and over the side of the base down to the bottom of the base.

The area behind the girl is filled in and it does give the sense of a tree stump, especially from the back of the sculpture, but I am sure that it is there to strengthen the sculpture. At the back of the sculpture the base and the tree stump are one continuous piece.

 The sculpture is signed on the left side to the back of the sculpture, F. R. MONTI , there is no date or title recorded. 

 Distinguishing marks,

There are no distinguishing marks on the underside of the sculpture.

Written by,

Mark E Shellshear.

Art Consultant.

For private consultation please email me at,

markshellshear@gmail.com